There’s a lot of excitement in the education sector about the need to equip students with skills like critical thinking, collaboration, and communication, to prepare them for a global, innovation-driven economy. But that’s easier said than done. Major changes are needed to move from a decades-old model towards creating new ways to educate students. Schools and their leaders, particularly in low-income contexts, often lack the necessary resources and support.

But given the right tools, school leaders can be the key to bringing this much-needed change to their schools. Knowing this, The William and Flora Hewlett Foundation partnered with IDEO and the Stanford d.school to create School Retool, a four-month-long professional development fellowship that trains principals to take a do-it-yourself approach to school change by conducting small, scrappy experiments called “hacks.”

The best part: They use the resources they already have available to address their schools’ needs now, without waiting for external funding or assistance. School Retool is available to principals at public schools where 60 percent or more of students qualify for free and reduced lunch, which is a common measure of poverty. The School Retool program provides research-based strategies for improving student outcomes, as well as training and one-on-one coaching on how to redesign school culture through easily achievable changes.

A Scaled Approach

School Retool addresses a common challenge in creating change across schools: Each school has its own people, culture, and needs, so programs need to be flexible. The fellowship helps school leaders define their aspirations, and provides them with inspiration through “Big Ideas” that have proven to be successful in different contexts in education. It then supports them to start small with hacks that help them learn how to implement these ideas in their own school. The program scales through regional cohorts of principals who learn from each other as they go through a process of setting goals, designing hacks, reflecting on the learning and progress, and making improvements to the next iteration.

Small Steps Toward Big Change

As School Retool has rolled out at schools across the country over the past two years, it’s becoming evident that small changes are adding up to major progress, and that the small hacks approach is helping leaders go from planning to doing. Take, for example, Marthaa Torres, the principal of a low-income San Francisco high school who started with a small experiment with one struggling student, trying to create a more personalized learning plan for him. “The hacking approach is a framework that will help me eventually get to the kind of school that I’m trying to create,” Torres said. To build on the learnings of her “hack,” she created and expanded a personalized coaching program for the student’s peer group of older Latino boys. Her goal is to roll out additional advisory support in the next school year. What started as a “hack” to give agency to a single student is beginning to affect the school-wide culture by incorporating student voice into decision making.

Creating a Movement

The School Retool fellowship launched in 2015 with a pilot for 16 principals from seven San Francisco Bay Area school districts, reaching more than 12,000 students. School Retool has since hosted cohorts for school leaders in Washington D.C., Detroit, Virginia, Idaho, and Colorado. By the end of 2016, 164 school leaders of over 114,000 students had participated in the fellowship program.

In addition to the in-depth work with school leaders, School Retool is creating a national dialogue around change in schools. Its first national effort drew more than 1,500 principals in the Shadow A Student Challenge, who spent a day walking in students’ shoes to build empathy and gain insight into their students’ school lives.

Learn more about how more school leaders are enacting change: bringing a sense of true belonging to a school’s culture; engaging students as active learners; hacking towards literacy; retooling for equity; and more.

WATCH: Marthaa Torres: Adopting a Hacking Mindset on Vimeo.

Remember your first View-Master? The sound and feel of that iconic camera-snapping motion, the excitement of seeing those vivid images in the form of your own personal slideshow? Introduced in 1939, this stereoscopic toy brought beautiful landscapes and famous attractions to the eyes of kids around the world.

Flash-forward more than 75 years, and the View-Master has been reincarnated to spark that same sense of wonder for the digital age. The redesigned model, the result of a project collaboration between IDEO and Mattel, is a modern case that bridges technology with play. The new View-Master preserves the classic features of the original toy, such as the original lever and wheel, but offers a much more immersive, 360-degree virtual experience.

Here’s how it works: Download the View-Master app and slide a smartphone into the sleek new red-and-white headset. From there, the phone’s camera will scan the QR codes on the reels to view a wide variety of images, such as wildlife, outer space, and a dinosaur landscape. Two slightly different images are displayed side by side on the device's screen. As each of your eyes looks at just the image directly in front of it and tries to reconcile it with what the other eye is seeing, a 3D effect is created. By moving your head around with the viewer over your eyes and taking advantage of the sensors within your phone to sense direction and position, you can travel through each of the scenes, exploring each of the different settings.

After working alongside Mattel to understand the heritage of the View-Master brand, researching the potential for VR and play, and exploring a variety of materials for the new device, designers created several prototypes that they tested with their core market: kids. As a result, the final design accounted for things like whether it could pass a drop-test or fit into kids’ hands.

Beyond the joy of pure play, the technology that powers the new View-Master also opens up a new world of possibilities for learning. Imagine turning a page in a textbook and seeing dinosaurs come to life. Or a virtual tour of an art museum through a set of View-Masters.

"We view this as just the beginning," said Doug Wadleigh, a Mattel executive, in an interview with CNET. "Obviously, we're getting in this space pretty early. The goal is to create the View-Master brand for the next 75 years."

Genentech is a biotech company that tackles difficult-to-treat medical conditions across the globe by creating innovative treatments. As a sponsor of the TED2012 conference, Genentech approached IDEO to partner in creating a “social space” for the TED exhibit hall that would captivate participants in an interactive brand experience and garner excitement around the future of personalized medicine.

To make leading-edge science more accessible to the masses, the team landed on an exciting new provocation: What if we could turn genes into music? IDEO worked closely with Genentech to develop an immersive genetic experiment that could incorporate traits of the TED community, using the company’s brand new technology for overnight gene analysis. A TED participant would choose a colorful trait pin packaged with a cheek swab kit and corresponding barcode, allowing them to leave a genetic sample one day and return the next day to discover that four SNPs of DNA had been analyzed overnight and translated into a unique musical track.

The IDEO team developed the concept, prototyped it with scientists, musicians, and sound engineers, and designed every element of the physical and digital experience—from the swab kit and packaging, to the built space and listening stations, iPad app, and other digital touchpoints. At the heart of the experience was music, including an algorithm that could generate 6500 unique musical combinations to reflect the genetic diversity of the TED participants.

Genentech’s “Infinite Variations” exhibit at TED2012 created the world’s first genetic symphony, an innovative and colorful blend of science and music. With the exhibit, Genentech sparked novel, approachable conversations about the role of genetics in medicine.

Of the 1850 attendees, over 1100 joined the genetic experiment in music and walked away with a new understanding of personalized science—and of their own genetic makeup.

What happens when you serve kids food made with cricket flour? And what do parents think? That’s what IDEO and Bitty Foods sought to learn during a collaboration to explore new kinds of lunchbox foods as a means to discover opportunities for alternative sources of protein.

We talked to Megan Miller, cofounder of Bitty, the Bay Area startup that makes delicious foods with cricket flour, about the collaboration.

Listen to the full audio story below, or go to Soundcloud.

How did it all begin, you ask?

Long-time IDEOer Alan Ratliff was using the loo in Santa Cruz a few years back and took note of the graffiti on stall walls. He was struck by how openly and honestly strangers could share their most heartfelt feelings—in a public space. Combining this insight with the pause for thought that often strikes while seated on the throne, we thought we'd try inviting the same behavior on our own walls.

And how have people at IDEO responded?

Though the wait has admittedly increased, which brings no one joy, designing the bathroom as a place to intentionally linger and gin up ideas has become a point of pride.

Curious to learn more about how we nurture a culture of creativity? We tell the whole bathroom story, and many more, in Leading for Creativity, a new course taught by Tim Brown at IDEOU.com.

There's one stop we always make on our office tour: the john. Walls blackened by chalkboard-paint, every month presents a new opportunity to pose a controversial question and weigh in with controversial answers. Indeed, our bathroom has become one of the most—forgive us—productive places on the premises.

Unless I’m at a gig or a concert, it’s rare that I listen to music in the presence of other people. There’s background music, sure, but that feels different—I’m not really listening. Here in New York, there’s always live music on subway platforms, but we don’t listen by choice (and while it’s often great, it can also grate).

Listening to music with others need not be limited to experiences of live music, though. Deliberately listening to recorded music with other people can be a magical experience. That’s especially true if you’re hearing it in a context that's a little unexpected, such as a conference room.

It’s a luxury to be in the same space as others and not need to talk—to just be present.

In our New York studio, we’ve been gathering for a series of shared listening sessions, called the Sonic Shower. It’s a really simple format:

• every month or so
• we spend 15 minutes
• first thing in the morning
• listening to 3 to 5 pieces of recorded music
• from around the world
• that are selected and ordered around a theme
• and played on speakers in a room
• while people listen over coffee
• and glance at light program notes, if they so choose

Three things we like about the Sonic Shower

1. IT SUPPORTS OUR COMMUNITY

It’s just a lovely thing to start the day with music. And it’s lovely to be in the company of colleagues without the pressures of drumming up conversation. Listening together creates a delicate, light experience of community that works for everyone, even if you don’t feel much like chatting first thing in the morning.

2. IT’S A SOURCE OF INSPIRATION

At IDEO, it’s our job to seek inspiration wherever we can find it. It fuels great design by keeping our teams engaged. We’re great at hunting down visual inspiration in art, type, and digital experiments. But it’s easy to forget to open our ears up in the same way—to expose our brains and hearts to sounds we’ve never encountered before. Music is sonic storytelling—it opens up imaginative doors that we’d be crazy not to go through. Each Sonic Shower is a mix of songs that are somewhat easy (or familiar) and somewhat challenging (or likely different to what you might normally hear).

3. IT ENGENDERS GRATITUDE

In so much of our work, we’re interrogating experiences—figuring out what underpins them and picking out aspects that we can replicate or evolve. But during a Sonic Shower we just listen to the music. We don’t feel an obligation to discuss it or derive meaning from it there and then. It’s a luxury to be in the same space as others and not need to talk—to just be present. And, while it does help our work, we don’t treat the Sonic Shower like work. That gives us permission to receive the music as a precious gift. And gratitude feels good.

Sample a Sonic Shower

Here’s what we listened to at a winter-themed session in December. You can find the music on Spotify here.

Hvild (2009) by Hugi Gudmundsson

Now based in Denmark, Gudmundsson is one of the bright lights of contemporary Icelandic composition. A few years ago, in a neat nod to IDEO, he was awarded one of the country’s most prestigious arts prizes: the Optimism Award.

Hvild means "rest." It was written for a friend’s funeral and includes text about carrying water over a mountain...

Snow (1954) by Irving Berlin; performed by Rosemary Clooney and The Mellomen

This is one of the stand-out songs from Bing Crosby’s White Christmas. The movie version features the four leads—Clooney, Crosby, Danny Kaye, and Vera-Ellen—singing the song together on a train. As you do.

Der Leiermann (1828) music by Franz Schubert; poem by Wilhelm Müller; performed by Jonas Kaufmann (tenor) and Helmut Deutsch (piano)

This is the final song of Winterreise (Winter Journey), Schubert’s monumental song cycle for voice and piano. Grab a whisky and listen to the whole thing sometime—it’s an intimate, crystalline marvel.

Der Leiermann translates as "The Hurdy-Gurdy Man." The hurdy-gurdy is an instrument where, to produce notes, you crank a handle that turns a greased wheel against its strings. Here’s the text of the song:

Behind the village stands a hurdy-gurdy man, cranking his instrument with frozen fingers. His begging bowl is always empty; no one listens to his music, and the dogs growl at him. But his playing never stops. “Strange old man. Shall I come with you? Will you play your hurdy-gurdy to accompany my songs?”

The piano does so much more than simply accompany the voice. Elsewhere in the cycle, it becomes a powerful storm, the rush of water beneath ice, a creaking weathervane, and much more. Listen for how, in this song, it conjures up the sparse drone of the hurdy-gurdy.

Winter Darkness (2014) performed by Nils Økland (Hardanger fiddle) and Georg Buljo (voice)

The Hardanger fiddle is a traditional stringed instrument from Norway. Contemporary players such as Økland have coaxed the fiddle into modern music, working with collaborators near and far.

Buljo has done much the same with joik (pronounced ‘yoyk’), one of the oldest vocal traditions in Europe. A joik is both a style and a song form, deeply rooted in the Sami culture of Sweden, Norway, and northern Finland.

All that said, this is a pretty traditional piece—but modern, close recording lets us hear every crack in Buljo’s voice and every bow across the strings.

Does it sound like "winter darkness" to you?

It’s never been easier to share music with each other: Here’s a link, there’s a playlist, and off you go. At the same time, my experience of music has become more and more private, more and more mediated by headphones.

We thought about the physical context: If looking at a screen put viewers into a mode of judgment, what environment might lead them into a state of openness and wonder? After a few false starts—and ruling out marijuana—we settled on a campfire. Everyone has experienced the magnetism of a flickering flame and its power to open you up to a good story.

Burning wood was going to be a challenge indoors. But then another part of our talk occurred to us, in which we identify iPhone addiction as a scourge that prevents people from engaging in creative daydreaming. What if we took away the audience's phones and used them to stoke up the flames rather than dowse them?

Here’s how the experience played out. We gathered everyone in a conventional classroom setting and ran them through a calendar review exercise (“Look at your last week and count the hours of creative imagination”). Then we shared some recent brain science studies that point to the power of daydreaming to cultivate creativity. Diving deep into the intricacies of neuroanatomy, we could tell we were losing people.

Just before everyone fell asleep, we herded them through a back door to another part of the building. Here, in dimmed light, we had each person load a YouTube video of a campfire and set it on top of a foam-core structure made by our designers in the Chicago office. Soon we had a raging digital bonfire of iPhones, with additional sound effects from having our audience gently crinkle Post-It notes in their hands.

No campfire would be complete without taking turns strumming a guitar and telling stories of things we’d done to rediscover our creativity, so that's exactly what we did. The previously restless audience sat on the floor, gazing at the virtual fire, curious and relaxed.

Look at your last week's calendar and count the hours of creative imagination.

We turned the floor over to the attendees. What strategies did they use in their own practice?

One colleague shared a story of hanging a lamp above his desk to serve as a beacon. When the lamp was on, it let others in the studio know he was available to talk. Another shared her technique of running away from distractions—literally, on foot—until her head was clear. A third announced he would try to change his mindset by drawing for a few minutes each morning when he got out of bed. As the session ended, we asked everyone to write down something they would try in the future to spark their own creativity. Commitments were made and notes were tossed into “flames” as attendees drifted away, dreaming of a new way to work.

In sum, here are 5 ways to design a non-boring meeting:

1. Start conventionally, then lead attendees to an unknown frontier
2. Confiscate phones
3. Commit to a gimmick so they don't complain that you've taken their phones
4. Play music
5. Ask people to share personal stories

*Only one iPhone was lost during the making of this session… but seriously, who took it?

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Our quest: to invent an un-boring meeting. My colleague Michael Hendrix (above, immersed in one experiment—a bubble-bath-based brainstorm) and I were preparing a conference session about the importance of putting yourself in a creative mindset. But the way we were delivering it—two dudes standing at the front of a room with a PowerPoint deck—was about as inspiring as the DMV. We needed the audience to experience the thing we wanted to teach.

Last November, three IDEOers and I set off to South Africa for a project focused on women's health. With so many others back in Cambridge eager to stay involved, we wanted to create a way to share our experiences from 8,000 miles away.

So we transformed our project room back at IDEO into an immersive, womb-like experiential space. Inside: a single chair and VR viewer. Every day over the course of the trip, we sent virtual reality videos that teleported our colleagues from Cambridge to our happenings in the field.

From this experiment, we got a glimpse into the impressive potential of this technology to radically change our industry. Here are five reasons to consider using VR for your next design research adventure:

1. Being invisible is super powerful

The VR camera we used was pocket-sized—hardly intrusive. Its 360-degree lens also breaks users’ mental model of a camera, no longer conveying that it's staring at them, or you, or anything, really. It puts participants at ease as it quickly fades into the background.

2. You can capture background noise

Our research environments are rich and beautifully complex. But during a typical interview, we're so focused on what the participant is saying or what question we’re going to ask next, it’s hard to take it all in, and much gets lost in translation when recounting the details later on. VR gives you a way to capture the background environment, and lets you elegantly weave it into the full narrative.

3. You gain empathy from those far away

The IDEOers back home felt like they were a part of the experience—as if they were with us, in the moment, and not just hearing the story secondhand. They said the videos felt active and immersive, allowing their senses to be fully engaged. Photos and traditional video are useful, but it’s just not the same.

4. You’ll be part of the scene (like it or not).

Filming in 360 degrees means there are no degrees to hide in! And while some may argue that this is more an obstacle than a benefit, to me, it feels more honest. It captures the reality that our research is not a one-sided investigation but rather a two-way conversation and collaborative experience.

5. You’ll want to watch it again. And again.

With VR, each viewing opportunity is unique. The viewer decides where to look and what little detail to pay attention to. It’s like getting to relive a moment in a thousand different ways, without ever getting called out for staring at anyone or anything. Even more compelling: Because the experience feels so vividly real, one is left with an almost visceral sense of nostalgia that’s powerful and addictive.

I'm excited to see how design researchers continue to experiment with VR. Will we embed insights directly into the video? Will research participants be able to "walk" into virtual environments we create? The possibilities are limitless, so strap on your seatbelt (and headset).

Thanks to my project team: Ann Kim, Lauren Kim, and Greg Wolos

Today, everyone’s buzzing about virtual reality and its potential to revolutionize the gaming, news, and film industries. But there’s one application that you rarely hear about: research.

I help organizations cut through complexity by shaping how they show up, through brand strategy, identity, and storytelling.

Working at the intersection of brand and business, I bring an editorial eye and a bias toward making—turning ideas into tangible experiences that people can understand, trust, and believe in.

My work spans government, healthcare, financial services, media, and consumer goods, from launching Gen Z-focused ventures to building innovation labs and reimagining legacy brands. I relish moments of ambiguity and enjoy translating across teams, perspectives, and priorities to move ideas forward.

I started my career in editorial and digital design, shaping cross-platform experiences and identity systems in publishing and agency environments. That foundation still shapes how I work today: I’m detail-oriented, collaborative, and overreliant on the Oxford comma. I hold a BFA in Visual Communication from the School of the Art Institute of Chicago.

For 25 years, I've asked the same question: Who does this design exclude—and what are we going to do about it?

My work spans human-centered strategy, inclusive design, and qualitative research, with clients ranging from Microsoft, Google, and Verizon to the National Science Foundation, and San Francisco Unified School District.

Before IDEO, I taught elementary school in East Palo Alto and spent a decade doing design work with social service organizations—where I learned firsthand what it costs people when systems are built without them in mind.

I am currently writing User Error, a nonfiction book about digital access and the design decisions behind it. I live in Oakland, California.

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My expertise spans brand, communication, and product design across tech, education, the arts, and social impact.

I believe great work demands both high-level vision and obsessive attention to detail, and only happens through collaboration.

I bring an inclusive, hands-on approach and a deep understanding of business, which enables me to consistently deliver excellence while always asking why.

Before joining IDEO, I worked at the brand firms Pentagram and VSA Partners. I began my career as a designer, leading teams at the School of the Art Institute of Chicago and the Milwaukee Art Museum. I hold an MFA in graphic design from Maryland Institute College of Art and a BFA in communication design from the Milwaukee Institute of Art & Design, and have taught at some of the best design schools in the US.

I am responsible for IDEO’s long-term success in China and working with clients to use design as a tool to enable growth. Specifically, I have helped Chinese companies design holistic brand solutions through the development of their products, communication, services, and innovation teams, and I have helped multinationals expand their presence and influence in China.

I advise global leaders on developing China-led innovation and capabilities.

In over 15 years in IDEO Shanghai, I have worked on projects that use design to elevate the quality of the experience of healthcare products and services, streamline processes that increase productivity, create spaces and programs that promote and enable inclusive communities, and build next generation mobility solutions that are planet-positive.

Before joining IDEO, I worked at Philips Electronics and the Electrolux Group in Italy, the Netherlands, and Singapore on a number of breakthrough commercial products. I am a member of the Young President Organization in Shanghai.

Most AI products today are built for work—a space with clear problems and established systems. One founder noticed a gap: personal life is messier, harder to systematize, and mostly left behind by the AI boom. So she built Cue, a personal AI that lives inside iMessage and group chats, to go where the other tools haven't.

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In this episode, Becca Carroll, IDEO's Chief Strategy Officer, talks with Sida Li, co-founder and CEO of Shared Context Lab, about staying anchored to a human need while the technology around her keeps changing shape, why she treats her business model with the same rigor she'd bring to a product, and what it feels like to build a company at this particular, disorienting moment in AI.

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The conversation also gets into how Sida makes design decisions: the language Cue uses to describe itself, the tradeoffs behind building inside iMessage instead of a new app, and a real story about a business idea that didn’t pan out.

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This is the second in a two-part series profiling founders from IDEO's Startups-in-Residence program. The first conversation is with Johannes Seemann, founder of Sooner, on designing GenAI for the emotional side of money.

Most personal financial tools are built to run the numbers and optimize towards a budget. While that works for some, most people experience money as a lived relationship that does not neatly fit into a spreadsheet. Johannes Seemann and Becca Carroll discuss why money is emotional before it is mathematical, and what a human-centered approach to building a generative AI financial product looks like in practice.

Mina Seetharaman talks with Scott Shigeoka, author of Seek and Head of Curiosity Cultivation at the Eames Institute, about what distinguishes genuinely curious leadership from performative curiosity, how power dynamics shape curiosity, and why practicing curiosity can restore energy rather than drain it.

Mina Seetharaman talks with David Epstein, author of Inside the Box and Range, about why total freedom often produces average work, how leaders can design useful limits on purpose, and what organizations such as General Magic and Pixar reveal about the relationship between boundaries and creativity.